This site requires Javascript to be turned on. Please enable Javascript and reload the page.

Music in Global America

MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA

Page

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Composite
is live	scalar:isLive	1
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-18T21:06:10-07:00

Version 42

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.42
versionnumber	ov:versionnumber	42
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. Bending notes on electric guitar Sliding notes on electic guitar. The first 30 seconds give you a good idea of the technique and sound, followed by a standard rock guitar pattern using sliding notes. "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure with Toumani Diabaté playing the kora.
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2024-09-05T21:19:43-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 41

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.41
versionnumber	ov:versionnumber	41
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2024-09-05T21:09:25-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 40

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.40
versionnumber	ov:versionnumber	40
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2024-09-05T21:04:59-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 39

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.39
versionnumber	ov:versionnumber	39
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2024-09-05T20:47:11-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 38

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.38
versionnumber	ov:versionnumber	38
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2023-02-27T07:40:26-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 37

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.37
versionnumber	ov:versionnumber	37
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:44:41-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 36

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.36
versionnumber	ov:versionnumber	36
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:43:56-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 35

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.35
versionnumber	ov:versionnumber	35
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Sékouba Traoré is a musician from Mali whose international reputation, tours, and recordings have popularized the tradition of the dozo ton, a West African confraternity of hunters who are also adepts in the use of medicinal plants and who advocate the moral precepts found in a syncretic blend of indigenous animistic beliefs and Islam. In this video he leads a procession of dozo ton as part of a ceremony in praise of the courage and nobility of lions. The instrument he plays, the n’goni, is the accompaniment for dozo ritual song. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:41:46-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 34

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.34
versionnumber	ov:versionnumber	34
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:39:05-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 33

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.33
versionnumber	ov:versionnumber	33
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:38:17-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 32

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.32
versionnumber	ov:versionnumber	32
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-24T14:37:19-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 31

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.31
versionnumber	ov:versionnumber	31
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube so you can easily read the English subtitles. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-10T20:42:12-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 30

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.30
versionnumber	ov:versionnumber	30
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) Watch on YouTube, and turn on CC (closed captions) for subtitles in English. CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-10T20:35:59-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 29

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.29
versionnumber	ov:versionnumber	29
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2021-01-07T21:03:21-08:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 28

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.28
versionnumber	ov:versionnumber	28
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana: PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27725
created	dcterms:created	2018-08-30T07:38:40-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 27

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.27
versionnumber	ov:versionnumber	27
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana: PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-14T15:20:53-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 26

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.26
versionnumber	ov:versionnumber	26
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana: PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-14T15:18:58-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 25

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.25
versionnumber	ov:versionnumber	25
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana: PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-14T15:16:19-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 24

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.24
versionnumber	ov:versionnumber	24
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana: PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
continue to content id	scalar:continue_to_content_id	785348
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-14T15:14:24-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 23

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.23
versionnumber	ov:versionnumber	23
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. POLYRHYTHM Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. Call and response in a traditional dance performance in Botswana. PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-14T15:07:38-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 22

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.22
versionnumber	ov:versionnumber	22
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. EXAMPLES of traditional African call and response Malian singer Sekouba Traore playing the traditional harp of hunters. This ceremonial event demonstrates the leader-group type call and response. (2:00) Call and response in a traditional dance performance in Botswana. Overlapping call and response format. This performance is also an excellent example of polyrhythmic interaction between music and movement. (2:45) PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-08-12T00:20:56-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 21

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.21
versionnumber	ov:versionnumber	21
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. EXAMPLES of traditional African call and response Malian singer Sekouba Traore playing the traditional harp of hunters. This ceremonial event demonstrates the leader-group type call and response. (2:00) Call and response in a traditional dance performance in Botswana. Overlapping call and response format. This performance is also an excellent example of polyrhythmic interaction between music and movement. (2:45) PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-31T18:51:42-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 20

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.20
versionnumber	ov:versionnumber	20
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. EXAMPLES of traditional African call and response Malian singer Sekouba Traore playing the traditional harp of hunters. This ceremonial event demonstrates the leader-group type call and response. (2:00) Call and response in a traditional dance performance in Botswana. Overlapping call and response format. This performance is also an excellent example of polyrhythmic interaction between music and movement. (2:45) PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-31T10:47:53-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 19

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.19
versionnumber	ov:versionnumber	19
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) CALL AND RESPONSE The call and response format is an exclusively vocal medium in traditional sub-Saharan African music. A soloist (the leader) sings phrases, and other singers (the group) respond in unison. The leader's phrases can be improvisational but the response must be fixed. Singers may recount royal history, tell stories, sing the praise of a patron, or discuss political and civic affairs. Call and response is a common practice in Cuban and American popular music, where it takes on many different forms through modifications and transformations of sub-Saharan call and response. EXAMPLES of traditional African call and response Malian singer Sekouba Traore playing the traditional harp of hunters. This ceremonial event demonstrates the leader-group type call and response. (2:00) Call and response in a traditional dance performance in Botswana. Overlapping call and response format. This performance is also an excellent example of polyrhythmic interaction between music and movement. (2:45) PENTATONICISM AND PITCH FLEXIBILITY Melodies in the Sahel and other parts of Africa are derived from a pentatonic (five-tone) scale similar to the minor pentatonic scale of European folk music. For instance, the tones of the E-minor pentatonic scale are E G A B D but in sub-Saharan African music the tones G and D are tuned just slightly lower than in standard Western tuning. In European music each tone is fixed with little or no pitch flexibility. Pitch flexibility -- the bending of pitches and sliding from one pitch to another -- is a fundamental stylistic characteristic in African singing and playing of variable-length string instruments. Pentatonicism and pitch flexibility are at the core of all popular American musical styles that have been created African-Americans, or touched by African-American music, including sacred and secular musical genres such as the blues, rhythm and blues, gospel, jazz, and rock. EXAMPLES of pentatonicism and pitch flexibility E-Minor Pentatonic scale with bent and sliding pitches on electric guitar (2:45) "Yer Bounda Fara" by Malian singer/songwriter/guitarist Ali Farka Toure (4:20)
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:37:08-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 18

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.18
versionnumber	ov:versionnumber	18
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm. Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:25:10-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 17

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.17
versionnumber	ov:versionnumber	17
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:23:10-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 16

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.16
versionnumber	ov:versionnumber	16
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:20:42-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 15

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.15
versionnumber	ov:versionnumber	15
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:19:35-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 14

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.14
versionnumber	ov:versionnumber	14
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:18:52-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 13

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.13
versionnumber	ov:versionnumber	13
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:17:17-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 12

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.12
versionnumber	ov:versionnumber	12
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:13:28-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 11

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.11
versionnumber	ov:versionnumber	11
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:12:40-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 10

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.10
versionnumber	ov:versionnumber	10
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:11:31-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 9

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.9
versionnumber	ov:versionnumber	9
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and balafon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:10:02-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 8

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.8
versionnumber	ov:versionnumber	8
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:08:22-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 7

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.7
versionnumber	ov:versionnumber	7
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:06:57-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 6

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.6
versionnumber	ov:versionnumber	6
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:06:23-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 5

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.5
versionnumber	ov:versionnumber	5
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:05:14-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 4

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.4
versionnumber	ov:versionnumber	4
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T02:03:37-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 3

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.3
versionnumber	ov:versionnumber	3
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the amadinda and bafalon, produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-19T01:55:41-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 2

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.2
versionnumber	ov:versionnumber	2
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the and , produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-18T21:07:40-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Version 1

resource	rdf:resource	https://scalar.usc.edu/works/music-in-global-america/musical-traditions-of-sub-saharan-africa.1
versionnumber	ov:versionnumber	1
title	dcterms:title	MUSICAL TRADITIONS OF SUB-SAHARAN AFRICA
content	sioc:content	INTRODUCTION Four sub-Saharan African musical practices are central to the growth and identity of popular Cuban and African-American music. Music made with percussion instruments The practice of polyrhythm Call and response singing A pentatonic pitch system, and bending/sliding pitches PERCUSSION INSTRUMENTS Historically, Europe had few important percussion instruments involved in making instrumental music, whereas Africa has a vast array of drums and percussion instruments. Drumming is important in religious ceremonies, communal dancing, communication, and for pleasure, praise, militancy, and work. Percussion instruments have a long important history in Afro-Cuban religions and in dance music. In America, where drumming was effectively banned, percussion instruments were not introduced until the twentieth century when the drum set became a standard component in social dance music and jazz. African traditional percussion instruments are not confined to drums, but are also made of metal, wood, plants, and other material. Some, like the and , produce definite pitches. Others--shakers, rattles, hand claps--are unpitched. The photo below includes string instruments and wind instruments in addition to percussion instruments, to show the diversity of musical instruments on the African continent. Polyrhythm Polyrhythm is the art of layering independent rhythmic patterns to create an intricate composite pattern. Polyrhythm is pervasive in much of the traditional and contemporary music of sub-Saharan Africa. It is a defining practice in Latin American dance music and is reflected in the American genres of ragtime, funk, and salsa. Two principles are essential to polyrhythm: a time cycle (an overall length that can be measured in equal time units); and the practice of interlocking rhythmic patterns. The figure below shows two simultaneous rhythmic patterns within a time cycle of six units. Drum strokes are indicated by the black X's (pattern 1) and red X's (pattern 2). The drum strokes coincide at the beginning of the cycle, then interlock on units 3, 4, and 5. Once a configuration like the one shown below is established, it repeats continuously, that is, it cycles or "loops." Individual players may improvise slight variations in a pattern, so that the music is not simply repetitive. Time Cycle of 6 units 1 2 3 4 5 6 \| Pattern 1 X X X \| Pattern 2 X X \| EXAMPLES of polyrhythm FOLI - Everything is rhythm: Scenes show how the djembe (drum) and agogo (double bell) are made and played polyrhythmically; the melding of music and dance; transmission of music-dance culture. (10:50) The Kouyate Family performing in Guinea, West Africa After a solo on balafon, a xylophone-type instrument, the group sings a song and then begins a performance on drums. Each of the drummers in the background plays a repeating rhythmic pattern, and all of the patterns together create a complex polyrhythm. One soloist, then a second, comes forward and improvises complicated ideas on top of the group's repeating patterns. (7:30) From the top: flutes, horns, bowed strings, harps, xylophones rattles, bells, mbiras, drums
default view	scalar:defaultView	plain
was attributed to	prov:wasAttributedTo	https://scalar.usc.edu/works/music-in-global-america/users/27548
created	dcterms:created	2018-07-18T21:06:27-07:00
type	rdf:type	http://scalar.usc.edu/2012/01/scalar-ns#Version

Show all versions View as RDF-XML View as RDF-JSON